13 December 2013

Inevitably, interviewing George Melly was an unforgettable encounter. That’s why I suggested it to the Listener. We met at 10.00am, he ordered a gin and tonic, and he was away. His 1965 memoir Owning Up about his days in a 1950s UK jazz band is one of the great music memoirs, about the days of touring before the M1 was built, staying in dodgy B&Bs with Carry On landladies, pints and pints of beer, and apres-gig knees-ups beneath the canal bridge. The article below was written in 1990, when Melly was one of many unfashionable musical guests of the “International” Wellington festival of the arts. I mean, were they serious about inviting Max Bygraves? But Melly’s talents went beyond the trad jazz they hired hiim for.

Fifteen years later, in 2005, I saw Melly wandering through a leafy street in St John’s Wood, London, very near Abbey Road. Two years before his death, he was still in his pyjama suit, but seemed decrepit with his stick and eye patch. All his memoirs are great reading, evening the final one about his physical decline, Slowing Down. He was trisexual – try anything – and he certainly tried. Was the Daily Mail pic serious when it captioned this picture, “Despite his bed-hopping, George Melly was loved by jazz fans across the world.”?

BEING BORN in Liverpool, claimed one celebrated citizen, carries with it certain responsibilities. It also makes one a member of the Liverpool mafia, says George Melly. “You give a few signs, says ‘ ’ello thur wack!’ and you’re away at once. It’s a sort of Freemasonry by birth.”

Melly, jazz singer and scholar, art critic and popular culture essayist, raconteur and bon vivant, still feels the pull of his birthplace. Immediately after his appearance at the 1990 International Festival of the Arts in Wellington he was going back to judge an art competition in a brewery. And the Liverpool Polytechnic have just awarded him an honorary degree.

Are they trying to make the man in the pyjama-striped suit and fruit-salad tie respectable? He hopes not. “It’s a great difficulty not to slip into being embraced by the establishment as one gets older. However the recent scandal about one’s seduction of Peregrine Worsthorne helps keep respectability from the door!”

Melly chuckles with saucy delight. The revelations in the defamation case between London Newspaper editors were in fact old news. Both Melly and the Sunday Telegraph editor had already written about their teenage liaison in their autobiographies. “But it was useful evidence in [Sunday Times editor Andrew] Neil’s trial of Worsthorne. Because Neil could say, ‘How dare this man say I shouldn’t go out with a perfectly respectable call-girl, and give her a Magimix, when he himself has admitted in print that he was seduced by a jazz singer!?’”

Surely Melly’s confessional memoir Owning Up makes it harder to be a victim of the tabloids? “I daresay they could find things that would embarrass me,” he says. “But it’s much harder. It’s not like I always pretended to be a pillar of the church and the establishment. You can’t accuse somebody of something they’ve already admitted to themselves.”

Melly arrived in London in the early 1950s, after a stint in the navy (detailed in Rum, Bum and Concertina). Although this was before it became a “positive bonus” to come from the provinces, he didn’t have any trouble infiltrating the London art world and music scene. “Liverpudlians take it for granted that they’re going to amuse and charm everyone, even if they’re not.”

An ideological battle was going on between jazz fans at the time. One was either a revivalist or a trad jazzer, and one didn’t fraternise with the opposition. They argued over the cut-off point when jazz lost its “purity” – after it left New Orleans, or when big-band-swing came along? Meanwhile the UK beboppers, led by Ronnie Scott and Johnny Dankworth, and better musicians, according to Melly, interpreted the jazz of their own era.

“i was a revivalist, totally,” he says. “I thought bebop was the work of the devil. Ridiculous nonsense. Nowadays one hears it as just a development, it came out of what came before it.” In the mid-1950s with the arrival of Elvis, it looked as though jazz was doomed. “But somehow it staggered to its feet and produced its most banal and boring period, the trad boom of the late ’50s, which in turn was swept out of the way by the Beatles: beat music, as we called rock’n’roll.”

Melly is adept at giving a potted history of post-war British jazz, having witness its “death”, and revival, several times over. For the moment, he says, jazz is “extraordinarily chick” in London, even if it sounds like an accessory to fashion photography. Young black musicians like Courtenay Pine are stars, jazz has replaced rock on film soundtracks, and is used to advertise clothes and scent. “You see people in pseudo-Armani black clothes and pale expressionless faces listening to that form of jazz. I don’t know them very well, these types of people. I’m more likely to see them at art galleries than at a jazz concert.”

In the 1960s, Melly retired from singing and started to write. Revolt Into Style, his 1970 collection of essays on British popular culture, still reads well, relying on sober, informed analysis rather than dated hipness. The book almost predicts punk rock with its conclusion that pop was “temporarily done for”, having turned “pretentious and sour”.

For a recent new edition. all Melly added was an afterword saying that punk was the only exciting thing to have happened since. “But I said I was letting the book stand. As a consequence there are now what appear archaic references, and the word negro throughout, which now gives one a shock to read. But the word was respectable then – if I’d used black I would have been very unpopular. And now I believe ‘black’ is dying out and one has to say something cumbersome like Afro-American.”

Melly returned to performing in the mid-1970s, with John Chilton’s Feetwarmers. “I still did it when people asked me, but they very infrequently did during the Beatles.” Ronnie Scott’s club gave them a residency because, he suspects, they attracted a crowd of young heavy drinkers, and the act became a cult. It was time to give up the day job. “We decided to go back on the road, we’d had a taste of it again. And it promised to be in rather more luxurious circumstances than hitherto. in the ’50s one led a very squalid life, which appeals to you when you’re young, but less so when you're middle-aged.”

Is performing still, as he once suggested, like seduction? “Yes, but I’m rather better at performing than seduction, I have to add. But it’s a similar process. I have an audience there who is a virgin every night, willing or unwilling. You come on stage and have to get them into a state where they’re saying ‘yes’ by the end. The similar may appal some people but I think it’s an accurate one – and for every performer, in whatever sphere. Playing the cello with an orchestra, acting Richard III, the audience has to be seduced.”

Though Melly’s blackface vocals can make Al Jolson seem like Ray Charles, his sincerity is unimpeachable. he is more an educator than interpreter, leading people to on to the originals. “I hope so,” he says. “Yesterday in this town somebody said, ‘I saw a concert you gave in England years ago and I went out and bought a Bessie Smith record, and I’ve still got it.’ If I’ve done that one in a thousand times …

“Of course, right from the start one questioned one’s right in black music. I did it at first because I so believed in it, and I’ve done it for so long I can’t give it up. And I must say what criticism I’ve had has always been from white critics. And I’ve sung with many black artists, none of whom have been anything but … kind.”

Melly’s love of 1920s jazz began at school, when he heard Muggsy Spanier’s ‘I Wish I Could Shimmy Like My Sister Kate’. “In between seducing Peregrine Worsthorne I was listening to this music,” he says. Then, the musicians were still in the entertainment business and consequently “produced a great deal of marvellous music because they weren’t self-consciously in pursuit of great art. There is high art, there is low art, and there is an awful lot of art which is pretentious, takes itself terribly seriously and produces nothing of lasting value.”

Bessie Smith is till his number-one singer. Next, he’d put “a whole lot of people in a row”: Ma Rainey, Jimmy Rushing, Joe Turner, Fats Waller, the “underrated” Ethel Waters, Bill Holiday. “There’s a big spectrum there, but Bessie – not even Billie has the same effect on me.”

However Melly no longer sings ‘Frankie and Johnny’ – the seduction requires too much energy. “One has to pretend to be shot – if possible fall off the stage, which is sometimes several feet high – leap to one’s feet and continue to sing, and so on. I don’t think I’d be able to do it more than once, and then with luck. So I dropped that many years ago.”

Another singer who made ‘Frankie and Johnny’ his own was Sam Cooke, who was shot in circumstances uncannily similar to those in the song Melly the scholar hasn’t considered this example of life following art. But if that’s the case, he say’s, “I’d prefer ‘Do You Want a Hot Dog in Your Roll’, which is a song I sing now, to come true than ‘Frankie and Johnny’.”

09 December 2013

At Stax Records the walls came tumbling down, twice. The first collapse of the legendary Memphis label began in December 1967, when Otis Redding’s sudden death was quickly followed by Stax’s separation from its distributor, Atlantic Records of New York. The death of Redding took out the label’s biggest solo star, while still in his ascendancy. The split with Atlantic didn’t just remove Sam & Dave from its books – the dynamic duo had only been “loaned” to Stax by Atlantic – it removed Stax’s entire back catalogue from its books. A hidden clause in Atlantic’s distribution contract said that ownership of the masters was vested in them, although Stax had made and paid for the recordings.

Another event in 1968 damaged the culture of Stax irrevocably. The murder of Martin Luther King in Memphis at the Lorraine Motel – a location that was one of the few to welcome visiting black musicians – altered the racial harmony that had existed at the label from the beginning. In a city where racism and segregation – both official and entrenched – survived long after the civil rights breakthroughs elsewhere, Stax was an integrated oasis. It is crucially important to the Stax story that its house band Booker T and the MGs (right) was a “mixed crowd”. Booker T was the quartet’s black, teenage keyboard prodigy; drummer Al Jackson its black, metronomic groove master; Steve Cropper a white, quiffed C&W-influenced guitarist; and providing the fluid bottom-end came from Donald “Duck” Dunn, an amiable white bass player.

The death of MLK and the racial mores and tension in Memphis are crucial to the Stax story. In Robert Gordon’s rich, absorbing new history of the label, Respect Yourself: Stax Records and the Soul Explosion(Boomsbury USA), the issue of race is like a bad-ass backing vocal against the two-part harmony in the forefront: the music and business angles. Stax has been well covered over the years; dominating the work of Stax scholars and obsessives worldwide are Peter Guralnick’s moving, wide-ranging Sweet Soul Music, and Canadian musicologist Rob Bowman’s exhaustive Soulsville. But in Respect Yourself, you can taste the grits.

Gordon is a Memphian, who has been writing and directing documentaries about local music for nearly 30 years. He connects with the way musicians work and live, and he is also a superb story teller. Respect Yourself is the book he has been writing in the back of his mind since he first picked up a pen, producing two other classics in the meantime. It Came From Memphis (1994) wasmostly about the city’s alternative rock scenes of the 1960s and 1970s, with Elvis and Stax barely mentioned, and Can’t Be Satisfied (2002) was an atmospheric, sensitive biography of Muddy Waters. Like Guralnick at a similar stage, Gordon has now produced a trilogy that evocatively recreates the culture in which American popular music was re-invented and heard worldwide.

Reeling from the blows it took in 1968 after Redding died, Stax quickly rebuilt itself under the new management of the visionary, risk-taking black entrepreneur Al Bell. His first task was to create an instant catalogue by recording and releasing 28 new albums simultaneously in an extravagant marketing gesture called the Soul Explosion. Extravagance soon became a byword at Stax, which had been founded by Jim Stewart and his sister Estelle Axton, two sensible, generous-hearted, white, small town music lovers. The frugality of Stewart’s approach is captured in the waste-free backings that Booker T and the MGs provided to the label’s first wave of recordings.

That extravagance was exemplified by the solo career of Isaac Hayes, Stax’s biggest star in the flamboyant Bell years. For Hayes (below), who first made his name as a Stax songwriter and producer, mostly for Sam & Dave, it meant recording albums with tracks that lasted nearly 20 minutes, wearing gold chain mail and little else as stage costumes, and driving a gold Cadillac, gifted to him in gratitude by Stax.

Pimp my wheels doesn’t begin to capture the swagger of the Shaft era, but does hint at another element of the story: the gangster-like behaviour of Johnny Baylor, a black hustler Bell hired to make sure distributors paid their bills and radio DJs played their records. Baylor, who likely put on a gun before his underwear, and his henchman Dino Woodard seem to be characters out of a Blaxploitation movie: they worked in entertainment, they had a great soundtrack, but their actions were deeply sinister.

It was Baylor who brought the walls of Stax tumbling down for the second time, when his bags were searched at Memphis airport, because of an unrelated bomb threat. Inside his bag were stacks of greenbacks, totalling more than $129,000. This alerted the FBI and IRD on to Stax: they were suspicious of the legitimacy of the money, and of other shadowy practices at the Southern, black-owned, independent company. Over the next couple of years Stax inexorably came apart, when debts to its local bank – itself a shaky, dodgy institution – were called in, and many were found to be fraudulent thanks to a bank employee taking backhanders. By 1976 the doors of Stax’s famous studio on McLemore Avenue were padlocked by armed guards, its publishing assets and master tapes taken by receivers. The label has since been sold several times, but is now in good hands at Concord Records, and thanks to revivals spurred by tributes such as The Blues Brothers and The Commitments movies, countless cover versions, and mostly the sheer strength of the back catalogue, the music Stax made has never been forgotten.

What makes Gordon’s book the best yet on this story – which is familiar to aficionados, but unknown to the millions who love the hits – is his identification with the musicians, their characters, and the community from which they sprung. So too is his use of the Memphis Sanitation workers’ strike of 1968 as a parallel story to relate just how pervasive and enduring racism and segregation was in the city.

Guralnick laid the groundwork in 1985 with Sweet Soul Music, which also covered other aspects of soul which didn’t emanate from Memphis (ie James Brown, Muscle Shoals). Bowman’s verbose, earthbound epic made one’s eyes water from the detail, and lacked the flair to move a reader from the armchair to the turntable. (Soulsville has a new purpose now as a book-length series of footnotes adding information about incidents to Gordon’s fast-paced, yet thorough, story-telling.)

Thanks to Gordon’s skill, the humanity of the characters comes through: Jim Stewart as the sober founder, out of his depth; his sister Estelle Axton – the hero of the book – whose open-mindedness welcomed talented black youths inside the studio; the dignified prodigy Booker T; the reliable Steve Cropper; the brilliant if flawed Al Bell. There is a sense of foreboding as the story unfolds: Stax is like a rollercoaster that sails through social and business barriers, taking risks at every corner, then builds up speed so that inevitably gravity comes knocking, in the guise of a hooded taxman and bank auditor. Gordon gets the sense of community and family that were essential to Stax’s success, and describes music making with just the right amount of colour and knowledge that while reading one is transported to the dance floor. Above: Jim Stewart and Estelle Axton.

Gordon has been interviewing the participants for almost 30 years, some of them for the 2007 Stax documentary Respect Yourself, which he co-directed. While the acknowledgements and suggestions of further reading and listening are helpful, I could have done with more precise information in the appendix about exactly who he interviewed, rather than general attributions to, say, Guralnick, who was one of several people who provided Gordon transcripts of their own interviews with key players. (Dead or alive, the interviewees are all quoted in the present tense.)* Also, the occasional subjective quip – which increase as the story continues – can sometimes intrude.

L-R: Jerry Wexler, Sam & Dave, Al Bell.

Gordon is understandably sceptical about Atlantic executive Jerry Wexler’s protestations of innocence in the saga of the company’s ruthless contract with Stax, but this could have been examined further. Wexler brought the incident up moments after Gordon began his interview with an innocent question, which is interpreted as “he protesteth too much”. Wexler could also have been racked with guilt, and haunted by the clause decades later. He was known as hard-nosed but always respected as a music man, not a suit: he could well have been oblivious to it. In his own biography, Wexler uses almost exactly the same words as he said to Gordon, and names Paul Marshall as the Atlantic lawyer responsible for the master-grabbing clause in fine print neither party had read. Also, there is a mention of Wexler asking Jim Stewart if he was interested in Aretha Franklin, whose contract at Columbia was about to finish. $25,000 was too much for Stax, so Atlantic signed her directly. I am unconvinced that Wexler would be so coldblooded towards the small Memphis label, whose musical and personal style he so admired, that he would suggest this while knowing of the hidden clause.

That small niggle aside, even when the business story of Stax begins to dominate the racial, political, and most importantly the musical angles, Respect Yourself is an exhilarating, often heart-breaking history. It will satisfy Stax aficionados and the newly converted, and does justice to the story by providing a context to the miracle of Memphis – and by opening up the music itself, like a re-mix editor looking for a hidden hook in the original multi-track tapes.

When I first visited Memphis, on an overnight stopover in 1988, I asked a white taxi driver where we were in relation to Stax. “Sex?” he said. “You want sex?” It was mainly my accent (in Georgia, asking for a Beck’s beer, after much confusion I was offered a Bax) but the confusion typified the disinterest that mainstream Memphis had in its local success story. One of the most gratifying elements of Gordon’s book is the conclusion, which suggests this disdain – much of it a product of institutional and inbuilt racism – has now evaporated. In the wake of Elvis’s death and the tourism dollars generated by Graceland, a new respect has been granted Stax. But the positive ending isn’t about filling motel rooms, it’s in keeping with the spirit of the label. The Stax Museum of American Soul Music – its premises a replica of the studio, on the original site – now contributes enormously to the community with its music and education programmes. This street-level activity proves to the neighbourhood children, whose grandparents once danced outside the doors of the studio, that music will not just help take you there, but to respect yourself.

* Update – apparently more expanded footnotes are to appear on Robert Gordon’s website, alongside some pure musical gold he rescued when visiting the Stax building as it was demolished: a stash of reel-to-reel tapes, featuring jam sessions by Booker T and the MGs, radio stings, etc.

Editor

writer, journalist, editor, music historian and radio producer. Music journalism and book reviews from the past can be read at www.chrisbourke.co.nz
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